Community Music Pro Dev

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Understanding the theory and practice of Community Music

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Community Music Pro Dev

  1. 1. Understanding the theory and practice of Community Music Professional Development Course October 6 th 2007
  2. 2. Universal Declaration of Human Rights Article 27 <ul><li>Everyone has the right to freely participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. </li></ul>
  3. 3. Theory… <ul><li>Who told you that you couldn’t do this? </li></ul><ul><li>Welcome to a newer you. (Community Music Handbook, Pete Moser) </li></ul><ul><li>Community music comprises music activities in a community control those activities. </li></ul><ul><li>(federation of Music Collective, based on the wrings of Anne Cahill) </li></ul>
  4. 4. Theory… <ul><li>The Personal touch is everything (Phil Mullen) </li></ul><ul><li>Creative work is organized chaos (Evelyn Grant) </li></ul><ul><li>In Community Music, the group is the curriculum (Frances Shanahan) </li></ul><ul><li>A “community” doesn’t have to be a geographical one (Sound Sense) </li></ul>
  5. 5. Theory … <ul><li>Community Music activities are based on </li></ul><ul><li>the premise that everyone has the right </li></ul><ul><li>and ability to make music… </li></ul><ul><li>… Such programmes can act as a </li></ul><ul><li>counterbalance and/or complement to </li></ul><ul><li>formal music institutions and commercial </li></ul><ul><li>music concerns… </li></ul><ul><li>(ISME Commission for Community Music Activity Many Music's- One Circle 1998) </li></ul>
  6. 6. Theory… <ul><li>Community Music activity is often a process in </li></ul><ul><li>which the participants themselves change and </li></ul><ul><li>develop making new discoveries about </li></ul><ul><li>themselves, empowering themselves, finding new </li></ul><ul><li>identity within a community… gaining new </li></ul><ul><li>understanding and tolerance. These achievements result </li></ul><ul><li>when the participant has direction of the process… the </li></ul><ul><li>empowerment of the community music worker and </li></ul><ul><li>Trainee must also be borne in mind. </li></ul><ul><li>(ISME CMA Commission The Role of Music in a Changing World 1992) </li></ul>
  7. 7. Practice… <ul><li>Participatory </li></ul><ul><li>Facilitates creativity/listening/performing </li></ul><ul><li>Develops skills </li></ul><ul><li>Inspires/enables/shares </li></ul><ul><li>Encourages ownership </li></ul><ul><li>Inclusive- all ages, skills, background, </li></ul><ul><li>culture </li></ul>
  8. 8. Practice… <ul><li>Workshop Fundamentals </li></ul><ul><li>Safe Place </li></ul><ul><li>Circle (trust, belonging, caring, empathy) </li></ul><ul><li>Facilitation </li></ul><ul><li>Commitment to creativity </li></ul><ul><li>Within a particular genre </li></ul><ul><li>All styles accepted </li></ul><ul><li>Access-Space </li></ul><ul><li>Access-Language </li></ul>
  9. 9. Practice… <ul><li>Positive Reinforcement Inclusive approach </li></ul><ul><li>Inclusive approach </li></ul><ul><li>Together empowered </li></ul><ul><li>Towards democracy of process </li></ul><ul><li>Individuation </li></ul><ul><li>Process and product of equal value </li></ul><ul><li>Acceptance that a person’s musical and personal growth are of equal importance </li></ul><ul><li>Commitment to evaluation and accountability fun </li></ul>
  10. 10. Practice… <ul><li>What is it </li></ul><ul><li>Who is it for </li></ul><ul><li>Where does it happen </li></ul><ul><li>What happens </li></ul><ul><li>Why </li></ul>

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